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Burnim MV, Maultsby PK, editors. Chapter 1: The translated African Cultural and Musical Past. In: African American music: an introduction. New York: : Routledge 2015. 3–22.https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=20
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Floyd SA. Introduction. In: The Power of Black Music. New York, Oxford: : Oxford University Press 1995. https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=273151
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Southern E. The music of black Americans: a history. 3rd ed. New York: : W. W. Norton 1997.
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Burnim MV, Maultsby PK, editors. Chapter 3: Secular Folk Music. In: African American music: an introduction. New York: : Routledge 2015. 34–49.https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=51
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Burnim MV, Maultsby PK, editors. Chapter 11: Music Theater. In: African American music: an introduction. New York: : Routledge 2015. 213–38.
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Burnim MV, Maultsby PK, editors. Chapter 6: Ragtime. In: African American music: an introduction. New York: : Routledge 2015. 97–118.
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Shank B. From Rice to Ice: The Face of Race in Rock and Pop. In: The Cambridge companion to pop and rock. Cambridge: : Cambridge University Press 2001. 256–71. doi:10.1017/CCOL9780521553698.016
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Burnim MV, Maultsby PK, editors. Chapter 4: Spirituals. In: African American music: an introduction. New York: : Routledge 2015. 50–71.
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Lott E. Love and theft: blackface minstrelsy and the American working class. 20th-anniversary edition ed. New York: : Oxford University Press 2013.
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Cockrell D. Demons of disorder: early blackface minstrels and their world. Cambridge: : Cambridge University Press 1997.
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Burnim MV, Maultsby PK, editors. African American music: an introduction. New York, NY: : Routledge, Taylor & Francis Group 2015.
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Burnim MV, Maultsby PK, editors. Chapter 7: Blues. In: African American music: an introduction. New York: : Routledge 2015. 119–37.
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Floyd SA. Chapter 3: Syncretization and Synthesis: Folk and Written Traditions. In: The Power of Black Music. New York, Oxford: : Oxford University Press 1995. https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=273151
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Floyd SA. Chapter 9: Troping the Blues: From Spirituals to the Concert Hall. In: The Power of Black Music. New York, Oxford: : Oxford University Press 1995. https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=273151
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Jones L. Blues People. In: The pop, rock, and soul reader: histories and debates. Oxford: : Oxford University Press 2005. 18–25.
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Oakley G. City Blues. In: The devil’s music: a history of the blues. [New York]: : Da Capo Press 1997.
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Wald E. Escaping the Delta: Robert Johnson and the invention of the Blues. New York: : HarperCollins 2005.
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McClary S. Bessie Smith: Thinking Blues. In: The auditory culture reader. Oxford: : Berg 2003. 427–34.
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Burnim MV, Maultsby PK, editors. Chapter 9: Jazz. In: African American music: an introduction. New York: : Routledge 2015. 163–88.
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Floyd SA. Chapter 4: African-American Modernism, Signifyin(g) and Black Music. In: The power of black music: interpreting its history from Africa to the United States. New York: : Oxford University Press 1995. https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=273151
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Schuller G. Origins. In: Early jazz: its roots and musical development. New York: : Oxford University Press 1968. 3–62.
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Burnim MV, Maultsby PK, editors. Chapter 8: Art/Classical Music. In: African American music: an introduction. New York: : Routledge 2015. 138–59.https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=155
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Floyd SA. Chapter 5: The Negro Renaissance: Harlem and Chicago Flowerings. In: The Power of Black Music. New York, Oxford: : Oxford University Press 1995. https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=273151
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Howland J. Chapter 3: The Blues Get Glorified: Harlem Entertainment, Negro Nuances, and Black Symphonic Jazz. In: ‘Ellington uptown’: Duke Ellington, James P. Johnson, & the birth of concert jazz. Ann Arbor: : University of Michigan Press 2009.
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Smith CP. William Grant Still: a study in contradictions. Berkeley, Calif: : University of California Press 2000.
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Hodeir A, Schuller G. Ellington, Duke. Published Online First: 20AD.http://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000008731?rskey=NN2YZA&result=3
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Murchinson G, Parsons Smith C. Still, William Grant. http://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000026776?rskey=csDbiQ&result=1
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Burnim MV, Maultsby PK, editors. Chapter 7: Rhythm and Blues/R&B. In: African American music: an introduction. New York: : Routledge 2015. 239–76.https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=136
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Floyd SA. Chapter 10: The Object of Call-Response: The Signifyin(g) Symbol. In: The Power of Black Music. New York, Oxford: : Oxford University Press 1995. https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=273151
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Brackett D. Chapter 19: The growing threat of Rhythm and Blues. In: The pop, rock, and soul reader: histories and debates. Oxford: : Oxford University Press 2005. 76–80.
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Brackett D. Chapter 24: Rock and roll meets the popular press. In: The pop, rock, and soul reader: histories and debates. Oxford: : Oxford University Press 2005.
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Brackett D. Chapter 25: The Chicago Defender defends rock and roll. In: The pop, rock, and soul reader: histories and debates. Oxford: : Oxford University Press 2005.
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Brackett D. Chapter 26: The music industry fight against rock ‘n’ roll. In: The pop, rock, and soul reader: histories and debates. Oxford: : Oxford University Press 2005. 100–9.
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Taylor TD. His name was in Lights: Chuck Berry’s Johnny B. Goode. In: Reading pop: approaches to textual analysis in popular music. Oxford: : Oxford University Press 2000. 163–82.
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Peterson RA. Why 1955? Explaining the Advent of Rock Music. Popular Music 1990;9.http://www.jstor.org/stable/852886
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Bertrand MT. Race, rock, and Elvis. Urbana, Ill: : University of Illinois Press 2005.
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Maultsby PK. Chapter 13: Soul. In: Burnim MV, Maultsby PK, eds. African American music: an introduction. New York, NY: : Routledge, Taylor & Francis Group 2015. https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=294
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Burnim MV, Maultsby PK, editors. Chapter 14: Funk. In: African American music: an introduction. New York: : Routledge 2015. 301–19.https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=317
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Danielsen A. Chapter 5: The Downbeat in Anticipation. In: Presence and pleasure: the funk grooves of James Brown and Parliament. Middletown, Conn: : Wesleyan University Press 2006.
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Lordi EJ. The meaning of soul: Black music and resilience since the 1960s. Durham: : Duke University Press 2020.
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Dery M, editor. Black to the Future. In: Flame wars: the discourse of cyberculture. Durham: : Duke University Press 1994. 179–222.
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Szwed J. Chapter 2 - excerpts. In: Space is the place: the lives and times of Sun Ra. New York: : Pantheon 1997. 64–73.
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Ibrahim A. Radical re-envisionings : ancient Egypt, Afrofuturism, and FKA twigs. 2015. doi:10.15781/T2763F
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Eshun K. More brilliant than the sun: adventures in sonic fiction. London: : Quartet Books 1998. https://monoskop.org/images/b/b2/Eshun_Kodwo_More_Brilliant_Than_the_Sun_Adventures_in_Sonic_Fiction.pdf
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Eshun K. Further Considerations of Afrofuturism. CR: The New Centennial Review 2003;3:287–302. doi:10.1353/ncr.2003.0021
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Burnim MV, Maultsby PK, editors. Chapter 15: Disco and House. In: African American music: an introduction. New York: : Routledge 2015. 320–34.https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=337
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Chang J. Can’t stop won’t stop: a history of the hip-hop generation. London: : Ebury 2007.
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Burnim MV, Maultsby PK, editors. Chapter 17: Hip-hop and Rap. In: African American music: an introduction. New York: : Routledge 2015. 354–90.https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=371
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Strauss N. Sampling is (A) Creative or (B) Theft? In: The pop, rock, and soul reader: histories and debates. Oxford: : Oxford University Press 2005. 422–3.
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Hess M. Hip-hop Realness and the White Performer. Critical Studies in Media Communication 2005;22:372–89. doi:10.1080/07393180500342878
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Krims A. Rap music and the poetics of identity. Cambridge: : Cambridge University Press 2000.
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Rose T. Black noise: rap music and black culture in contemporary America. Middletown, Connecticut: : Wesleyan University Press 1994. https://bris.on.worldcat.org/oclc/610269566
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Schloss JG. Making beats: the art of sample-based hip-hop. Middletown, Conn: : Wesleyan University Press 2004.
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Hansen KA. Empowered or Objectified? Personal Narrative and Audiovisual Aesthetics in Beyoncé’s Partition. Popular Music and Society 20170315;40. doi:10.1080/03007766.2015.1104906
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Naila Keleta-Mae. A Beyoncé Feminist. Atlantis: Critical Studies in Gender, Culture & Social Justice 2017;38:236-246 PDF.https://journals.msvu.ca/index.php/atlantis/article/view/3407
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How #BlackLivesMatter started a musical revolution. Guardian Published Online First: 13 March 2016.https://www.theguardian.com/us-news/2016/mar/13/black-lives-matter-beyonce-kendrick-lamar-protest
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Beyoncé in ‘Formation’: Entertainer, Activist, Both? - The New York Times. https://www.nytimes.com/2016/02/07/arts/music/beyonce-formation-super-bowl-video.html
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Moving Beyond Pain — bell hooks Institute. http://www.bellhooksinstitute.com/blog/2016/5/9/moving-beyond-pain
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Harper P. BEYONCÉ: Viral Techniques and the Visual Album. Popular Music and Society 20190101;42. doi:10.1080/03007766.2019.1555895
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Kooijman J. Fierce, Fabulous, and In/Famous: Beyoncé as Black Diva. Popular Music and Society 20190101;42. doi:10.1080/03007766.2019.1555888
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Nathalie Weidhase. ‘Beyoncé feminism’ and the contestation of the black feminist body. Celebrity Studies;6.https://bris.on.worldcat.org/search?databaseList=638&queryString=nathalie weidhase beyonce feminism &clusterResults=true#/oclc/5734256448
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Nathalie Weidhase. ‘Beyoncé feminism’ and the contestation of the black feminist body. Celebrity Studies;6.https://bris.on.worldcat.org/search?databaseList=638&queryString=nathalie weidhase beyonce feminism &clusterResults=true#/oclc/5734256448
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Edgar AN. ‘She invited other people to that space’: audience habitus, place, and social justice in Beyoncé’s Lemonade. Feminist media studies 2019;19.https://bris.on.worldcat.org/search?databaseList=638&queryString=amanda nell edgar and ashton toone she invited other people&clusterResults=true#/oclc/7994441038
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Arzumanova I. The culture industry and Beyoncé’s proprietary blackness. Celebrity Studies 20160702;7. doi:10.1080/19392397.2016.1203613
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Patrick S. Becky with the Twitter: Lemonade, social media, and embodied academic fandom. Celebrity Studies 20190403;10. doi:10.1080/19392397.2018.1462721
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Brooks KD, Martin KL. The Lemonade reader: Beyoncé, black feminism and spirituality. London: : Routledge 2019.
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Trier-Bieniek AM, editor. The Beyoncé effect: essays on sexuality, race and feminism. Jefferson, North Carolina: : McFarland & Company, Inc., Publishers 2016.
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Adams, Kyle. Aspects of the Music/Text Relationship in Rap. Music Theory Online;14.http://www.mtosmt.org/issues/mto.08.14.2/mto.08.14.2.adams.html
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David Brackett. James Brown’s ‘Superbad’ and the Double-Voiced Utterance. Popular Music 1992;11:309–24.http://www.jstor.org/stable/931312
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Cockrell D. Demons of disorder: early blackface minstrels and their world. Cambridge: : Cambridge University Press 1997.
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Cooke M, Horn D, editors. The Cambridge Companion to Jazz. Cambridge: : Cambridge University Press 2003. doi:10.1017/CCOL9780521663205
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Murray Forman. ‘Represent’: Race, Space and Place in Rap Music. Popular Music 2000;19:65–90.http://www.jstor.org/stable/853712
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Frith S, Straw W, Street J, editors. The Cambridge Companion to Pop and Rock. Cambridge: : Cambridge University Press 2001. doi:10.1017/CCOL9780521553698
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Gates HL. The signifying monkey: a theory of African-American literary criticism. Oxford: : Oxford University Press 1988. https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=679616
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Stan Hawkins. Prince: Harmonic Analysis of ‘Anna Stesia’. Popular Music 1992;11:325–35.http://www.jstor.org/stable/931313
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Tim Hughes. Groove and Flow: Six Analytical Essays on the Music of Stevie Wonder. 2003.https://www.academia.edu/217945/_Groove_and_Flow_Six_Analytical_Essays_on_the_Music_of_Stevie_Wonder_
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Amiri Baraka (LeRoi Jones). Blues people: Negro music in white America. New York: : W. Morrow 1963.
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Kajikawa L. Sounding race in rap songs. First edition. Oakland, California: : University of California Press 2015.
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Price EG, Kernodle TL, Maxile HJ. Encyclopedia of African American music: Volume 1: A-G. Santa Barbara, Calif: : ABC-CLIO 2011. https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=620092
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Maultsby PK. Africanisms in African-American Music. In: Africanisms in American culture. Bloomington, Ind: : Indiana University Press 1990.
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Maultsby PK. Soul Music: Its Sociological and Political Significance in American Popular Culture. The Journal of Popular Culture 1983;17:51–60. doi:10.1111/j.0022-3840.1983.1702_51.x
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Forman M, Neal MA. That’s the joint!: the hip-hop studies reader. 2nd ed. London: : Routledge 2012.
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Ramsey GP, Columbia College (Chicago, Ill.). Center for Black Music Research. Race music: black cultures from behop to hip-hop. Berkeley, Calif: : University of California Press 2003.
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Small C. Music of the common tongue: survival and celebration in African American music. Hanover, N.H.: : Wesleyan University Press 1998.
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Southern E. The music of black Americans: a history. 3rd ed. New York: : W. W. Norton 1997.
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Stuckey S. Slave culture: nationalist theory and the foundations of black America. 25th anniversary edition. New York: : Oxford University Press 2014. https://bris.on.worldcat.org/oclc/870284452
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Walser R. Rhythm, Rhyme, and Rhetoric in the Music of Public Enemy. Ethnomusicology 1995;39. doi:10.2307/924425
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Williams JA, editor. The Cambridge Companion to Hip-Hop. Cambridge: : Cambridge University Press 2015. doi:10.1017/CCO9781139775298
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Williams JA. The Construction of Jazz Rap as High Art in Hip-Hop Music. The Journal of Musicology 2010;27:435–59. doi:10.1525/jm.2010.27.4.435
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Zak III AJ. Bob Dylan and Jimi Hendrix: Juxtaposition and Transformation ‘All along the Watchtower’. Journal of the American Musicological Society 2004;57:599–644. doi:10.1525/jams.2004.57.3.599
